** UPDATE: 13/04/22 ** The Louvre got in touch the day after I published my post. They apologized for the current situation, thanked me for my feedback and have promised to work on better communication of their offerings to all concerned. They gave me a link to the audio-described tour of the current exhibition and reassured me that the Tactile Gallery has not gone for good, but is being renovated.
I am used to being disappointed by museums' accessibility offerings. (Examples here and here). But I was not expecting to have my worst experience at one of the world's most famous museums. According to their website, the Louvre is "accessible à tous" (accessible to everyone). I was especially looking forward to visiting the Petite Galerie which has a very promising description on the museum website:
The Petite Galerie is a dedicated space for disabled visitors. Entirely accessible, it is equipped with tactile ground surface indicators. A braille booklet is lent free of charge and a downloadable guided tour with audio descriptions is available on the Petite Galerie app.
La Petite Galerie est un lieu d’accueil privilégié pour les visiteurs en situation de handicap. Entièrement accessible, l'espace propose des dispositifs adaptés : bande de guidage podotactile, prêt gratuit d’un livret tactile remis, parcours audio-décrit téléchargeable sur l’application "La Petite Galerie".
After feeling frustrated by the general lack of access for blind people elsewhere in the Louvre, I was expecting great things from the Petite Galerie. I'm not a fan of 'special' rooms for disabled visitors, but some provision, even if marginalized, is better than none.
When we arrived, we found that the Petite Galerie does indeed have an audio described tour of a handful of items in the 'Figures d'artiste' exhibition on their app. Sadly, this exhibition closed last year: the current exhibition is not audio-described and the app has not been updated. To add insult to injury, the out-of-date audio is still on the app. Massive disappointment. The gallery attendants had no idea why this year's exhibition has not been described. They did, however offer me a tactile booklet that accompanies the current exhibition, 'Venus d'ailleurs: materiaux et objets de voyage' (From Afar: Travelling Materials and Objects).
Given that the 'Petite Galerie' is specifically designed for disabled visitors, I was pretty shocked and upset that I couldn't access audio descriptions of any of the 50 of so exhibits. But my friend and I decided to try the tactile booklet anyway. Here is what we found:
The booklet contains 2D relief drawings of 7 works; 6 objects and 1 painting. There is also a tactile plan of the exhibition which was supposed to help us locate the objects. The first two rooms in the exhibition have 'guidage podotactile' (raised floor markings) that are also shown on the tactile map. (Oddly the raised markings stop at the entrance to the third and final room: blind people are not welcome there). The AD of the previous exhibition explains how to find each object. Without it, we found it hard to locate the objects, especially because, as my friend pointed out, some of them are extremely small.
The tactile reproduction of the painting apparently does quite a good job of capturing the shapes and textures of the five shells:
In fact, my friend thought that non-blind visitors would appreciate the details given by the tactile drawing, which are not necessarily visible in the painting. This is great if you care about the shells themselves, but less great if you want a tactile experience equivalent to how a non-blind person might look at the painting. Reproducing details that a non-blind person can't see, gives a skewed idea of how the painting looks.
The booklet gives basic information (title, artist, materials, dates, dimensions) in French in grade 1 (uncontracted) Braille and slightly larger than standard print. But there is no explanation of what the painting looks like, why it is significant or how it fits into the exhibition as a whole. Even more frustratingly, the exhibition's information panels and curator notes are not translated into Braille but are only available as wall panels in very small type. The tactile booklet gave me no sense of the exhibition as a whole.
Things got even worse when we compared the tactile reproductions of the 6 objects with the artefacts on display. Creating tactile drawings is tricky: you need to provide enough information to make the object recognisable, but too much information can be confusing, especially if not accompanied by an audio explanation. Unfortunately, the Louvre has decided that it is best to provide minimal information: this results in insultingly simplistic representations that feel more like children's' book illustrations than representations of historic artefacts. Compare the tiny elephant figure pictured below with its tactile representation and you will understand what I mean:
[The top image shows a tiny bronze elephant statue. I have no idea what it was used for or where it is from. It is standing on a wedge-shaped platform so that it is at an angle with its front feet slightly higher than its back feet. It is in a display case with a mirrored back in which my face and phone are reflected. The second image shows a basic elephant shape in relief on the left-hand page of the tactile booklet. The right-hand page contains minimal information in print and braille.]
Nothing in the tactile booklet tells me how the elephant actually feels, and I have to use my own understanding of the one measurement provided (h: 9cm) to work out how the scale of the reproduction relates to the original. More worryingly, there is no acknowledgement that the practice of transforming 3D objects into 2D tactile representations is deeply flawed. Nothing in the reproduction gives a sense of the actual elephant. What we have here, at best, is a generic picture of an elephant: I am pretty sure that most blind people are familiar with the concept of an elephant. At worst we have an incredibly infantilising and insulting tactile drawing that tells us nothing about the artefact or its place in the exhibition. (Here is not the place to get into the dangerously Orientalist decision to use an elephant to represent the exotic other.....).
The tactile reproductions of the other objects were not much better. The elephant obsession continued with an 'olifant' (horn) made out of ivory.
[The top image shows an 'olifant' hanging in a display case. There is a reflection of me in the background. The horn seems to have intricate markings carved into it. The lower image shows a double-page in the tactile guide. On the left, a tactile drawing of the horn. Two areas of the horn are outlined in red; enlarged reproductions of them are included below the drawing of the horn. On the right, minimal details about the horn are included in print and braille.]
This time there was an effort to include some of the details on the horn in separate drawings of specific elements. My friend noticed an explanatory panel next to the horn. It gives several sentences of interpretation in English and French as well as a map illustrating the object's provenance. The text on the panel is too small for me to read. None of it is included in the tactile booklet.
[This image shows a display panel next to the horn. The text is in French and English. It is printed too small for me to read (perhaps 10 or 12 point). There is also a line-drawn map with a shaded area indicating where the object is from. I can see enough to guess it is Middle-Eastern.]
Almost all the objects in the exhibition are in Perspex display cases. But there was one object - another ivory horn - that was displayed without a case. I was enjoying touching it until my friend noticed what we thought might be a 'do not touch' symbol next to it. (The irony that I could not see the sign did not escape us).
[This image shows a larger elephant tusk or horn. It is not in a case and is invitingly at hand level. Below the object there is a short explanatory text. There is also a panel with two images: both crossed out by a red diagonal line: one is a hand with an extended finger; the other is a speaker with sound waves coming out of it and 'durée 8 minutes' written next to it: can this mean that there used to be an 8-minute AD for this object that is no longer available?]
To be fair, the gallery staff were pretty embarrassed and appalled by my experience. They are under-paid and over-worked and none of this is their fault. They suggested that we report the situation to the visitor experience team. They also recommended going to explore the Louvre's famous Tactile Gallery, one of the first tactile sculpture galleries in Europe.
On the recommendation of the gallery staff, we did go and talk to visitor services about the Louvre's offer for blind and partially blind people. When I explained that the Petite Galerie app no longer includes AD, they suggested that we avail ourselves of the 'standard' audio guide instead. However, further questions revealed the limitations of this standard audio guide for blind visitors. No, there aren't any audio descriptions of works included in the standard guide. Yes, there is explanatory, contextual and interpretative material only. Yes, you have to be able to read a number placed next to each work and enter it into a touch tablet. No, this system isn't accessible to non-accompanied blind people. No, there are no tactile handsets or braille or large-print transcripts. No, the objects in the Petite Galerie are not included in the 'standard' audio guide. Yes, it probably is true that the museum is not accessible to blind people.
Our final stop was the famous Tactile Gallery. The Gallery opened in 1995 and soon became a flagship gallery for museum accessibility. When I asked my not-so-helpful visitor services helper for directions, I was stunned by his response: "Ah, Madame, ça n'existe plus!" (Oh, Madam, that no longer exists). nfortunately the attendants in the Petite Galerie did not know that the Tactile Gallery had been shut down. This is not just a temporary Covid Closure. As the image at the top of the page, and these two images, show, the Tactile Gallery has apparently gone for good:
[The top image shows a sign reading ‘Galerie d’étude I: espace adaptée aux visiteurs non et malvoyants’ {Study Gallery I: space adapted for blind and visually impaired visitors'). The lower image shows an empty room closed off by a metal gate. The room has stone walls and tiny windows. It seems to be bathed in creamy yellow light. It is completely empty. It looks like a designer prison cell.]
No-one in the museum could tell me why the Tactile Gallery has been abolished. If I were being charitable I would guess that it has been abandoned because it will become redundant once the Louvre makes every object properly accessible to all. Until that day comes, here is my advice for the Louvre:
Remember that 'access' does not just mean physical access to a space. It also means giving people information and experiences in ways that work for them. There is no point offering to meet me at a bus stop and guide me into the Louvre if I then can't access any of the art once I am inside your 'accessible' building.
Be honest: if there is no longer audio description, update your app and your website so that I don't waste my time and money. Your website promises something you don't deliver; you raised my expectations and that made my disappointment and frustration worse. It is rare that museums make me cry but you very nearly managed it.
Rethink your priorities. You are one of the most famous museums in the world. Don't you think that everyone should have access to your collections? Surely you could invest some of the profit you make from entrance fees, and shop and café mark-ups into proper permanent access? How about leading by example?
Celebrate access: as I have shown elsewhere, creative audio description benefits all visitors. Instead of marginalizing disabled visitors make us the centre of your offering. No non-disabled visitor is ever going to say 'I hate this museum, it is too accessible'.
Don't hide behind excuses around logistics / finance / admin / aesthetics: if small museums like the Royal Holloway Picture Gallery or the Guildhall Museum can make their collections accessible, so can you.
Involve disabled people in curation and exhibition design: even highly qualified non-blind people are not as good at designing accessible exhibits as the people who use them.
